tag:blogger.com,1999:blog-62086805981976980072018-03-05T23:44:44.712-08:00ИкониНиколай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.comBlogger38125tag:blogger.com,1999:blog-6208680598197698007.post-25991062173670606282009-04-16T03:41:00.000-07:002009-04-16T03:52:36.028-07:00Great and Holy Thursday<a href="http://1.bp.blogspot.com/_hbSa5dpexdw/SecN1FxvOwI/AAAAAAAAC1M/nGmp5-QxhB8/s1600-h/vel_chetvartak.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 123px;" src="http://1.bp.blogspot.com/_hbSa5dpexdw/SecN1FxvOwI/AAAAAAAAC1M/nGmp5-QxhB8/s400/vel_chetvartak.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5325240290123922178" /></a>Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-24712905811438448402009-03-26T05:52:00.000-07:002009-03-26T05:54:27.370-07:00Annunciation 12 c Sinai<a href="http://4.bp.blogspot.com/_hbSa5dpexdw/Sct6xdm52uI/AAAAAAAACw0/RTBG_hPHPUI/s1600-h/Blagoveshtenie_12v_Sinai.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 388px;" src="http://4.bp.blogspot.com/_hbSa5dpexdw/Sct6xdm52uI/AAAAAAAACw0/RTBG_hPHPUI/s400/Blagoveshtenie_12v_Sinai.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5317478775220984546" /></a>Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-46808282886417554812009-03-06T09:30:00.001-08:002009-03-06T09:31:17.150-08:00Prophet Ilia. Veliko Tarnovo, XIII c<a href="http://2.bp.blogspot.com/_hbSa5dpexdw/SbFd25u75eI/AAAAAAAACq0/MNF4KBb5HnE/s1600-h/sv_pr_Ilia_13v_sv_40_machenici_Tarnovo.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 272px; height: 400px;" src="http://2.bp.blogspot.com/_hbSa5dpexdw/SbFd25u75eI/AAAAAAAACq0/MNF4KBb5HnE/s400/sv_pr_Ilia_13v_sv_40_machenici_Tarnovo.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5310128633438528994" /></a>Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-11409812874234947642009-02-28T03:22:00.000-08:002009-02-28T03:23:59.599-08:00St Johns Head Russian 17 c<a href="http://1.bp.blogspot.com/_hbSa5dpexdw/Sakeqy2S-6I/AAAAAAAACpk/0SVAOVH3CIQ/s1600-h/Russian+17+c.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 321px; height: 400px;" src="http://1.bp.blogspot.com/_hbSa5dpexdw/Sakeqy2S-6I/AAAAAAAACpk/0SVAOVH3CIQ/s400/Russian+17+c.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5307807356385688482" /></a>Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-2180706489784893592009-02-18T01:41:00.001-08:002009-02-28T03:14:51.789-08:00StSt Cyril and Methodius Rome XI c<a href="http://4.bp.blogspot.com/_hbSa5dpexdw/SZvX0yHX2uI/AAAAAAAACnE/tM31ukIiJvY/s1600-h/02_14_svv_km_san_clemente.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 222px; height: 239px;" src="http://4.bp.blogspot.com/_hbSa5dpexdw/SZvX0yHX2uI/AAAAAAAACnE/tM31ukIiJvY/s400/02_14_svv_km_san_clemente.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5304070287964756706" /></a>Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-80765811462949972162009-02-08T03:42:00.000-08:002009-02-08T03:56:19.271-08:00Ceramic icon of St. Theodore Stratilates<a href="http://4.bp.blogspot.com/_hbSa5dpexdw/SY7IAwsIQvI/AAAAAAAACi8/ZI8rS4-63cg/s1600-h/02_08_sv_teodor_stratilat.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 334px; height: 400px;" src="http://4.bp.blogspot.com/_hbSa5dpexdw/SY7IAwsIQvI/AAAAAAAACi8/ZI8rS4-63cg/s400/02_08_sv_teodor_stratilat.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5300393726857200370" /></a><br /><br />One of the few ceramic icons in existence, dated to ca. 900, shows St. Theodore. It was found 1909 near Preslav, Bulgaria. (now in National Archaeological Museum, Sofia).Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-89000591903499750172009-01-30T07:06:00.001-08:002009-01-30T07:16:40.796-08:00Palermo mosaic 12 c<a href="http://4.bp.blogspot.com/_hbSa5dpexdw/SYMXl9sLTGI/AAAAAAAACfc/rILIMftyaU4/s1600-h/Sv+VJ+12+c.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 291px; height: 400px;" src="http://4.bp.blogspot.com/_hbSa5dpexdw/SYMXl9sLTGI/AAAAAAAACfc/rILIMftyaU4/s400/Sv+VJ+12+c.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5297103527700286562" /></a> Synaxis of the Three Hierarchs: Basil the Great, Gregory the Theologian and John Chrysostom: During the eleventh century, disputes raged in Constantinople about which of the three hierarchs was the greatest. Some preferred St Basil, others honored St Gregory the Theologian, while a third group exalted St John Chrysostom. Dissension among Christians increased. Some called themselves Basilians, others referred to themselves as Gregorians, and others as Johnites. By the will of God, the three hierarchs appeared to St John the Bishop of Euchaita in the year 1084, and said that they were equal before God. "There are no divisions among us, and no opposition to one another." They ordered that the disputes should stop, and that their common commemoration should be celebrated on a single day. Bishop John chose January 30 for their joint Feast, thus ending the controversy and restoring peace.<br /><br />The Palatine Chapel (or Cappella Palatina) is part of the Palazzo dei Normanni (or Palazzo Reale) in Palermo. It was the private chapel of Roger II, who also built Cefalù cathedral. The stunning mosaics include scenes from the Old Testament of the Bible, events from the lives of Saints Peter and Paul, and other saints. Unfortunately the central image of Christ over the altar, and other mosaics in the apse were hidden behind scaffolding and sheeting on this visit, on account of restoration work. There is also extensive cosmati flooring and geometric inlay. The wall outside the chapel in covered in 19th century mosaics, in fascinating contrast to the Byzantine examples inside. The artists responsible for the chapels mosaics are thought to be the same that created those at La Martorana. Many of the biblical scenes in the Palatine Chapel are also featured at Monreale.Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-83778460408830595302009-01-18T02:14:00.000-08:002009-01-18T02:25:49.212-08:00St Athanasius Plovdiv 16-17 c<a href="http://2.bp.blogspot.com/_hbSa5dpexdw/SXMDXg4KrlI/AAAAAAAACZI/H0X9YsKTpeI/s1600-h/05_02_sv_Atanasij_Plovdivsko_16-17v.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 205px; height: 400px;" src="http://2.bp.blogspot.com/_hbSa5dpexdw/SXMDXg4KrlI/AAAAAAAACZI/H0X9YsKTpeI/s400/05_02_sv_Atanasij_Plovdivsko_16-17v.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5292577689587854930" /></a> St <strong>Athanasius</strong> took part in the First Ecumenical Council when he was still a deacon. He surpassed everyone there in his zeal to uphold the teaching that Christ is consubstantial (<em>homoousios</em>) with the Father, and not merely a creature, as the Arians proclaimed. <br />This radiant beacon of Orthodoxy spent most of his life in exile from his See, because of the plotting of his enemies. He returned to his flock as he was approaching the end of his life. Like an evening star, he illumined the Orthodox faithful with his words for a little while, then reposed in 373.Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-33952152666051691422009-01-06T10:00:00.000-08:002009-01-30T07:17:19.296-08:00Theophany. Daphne, 11 c<a href="http://4.bp.blogspot.com/_hbSa5dpexdw/SWOeLMWCY5I/AAAAAAAACVI/lsZ21F9E6Ps/s1600-h/Daphne+Theophany.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 400px; height: 268px;" src="http://4.bp.blogspot.com/_hbSa5dpexdw/SWOeLMWCY5I/AAAAAAAACVI/lsZ21F9E6Ps/s400/Daphne+Theophany.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5288244302592500626" /></a><br />Мозаика в парусе церкви Успения в Дафни. Наиболее ярким и завершенным проявлением стиля конца XI столетия стали мозаики церкви Успения Богоматери в Дафни, близ Афин, представляющие уникальное явление в истории византийского искусства. Храм декорирован отчасти по классической схеме: в куполе — Пантократор с шестнадцатью пророками в простенках барабана, в апсиде — Богоматерь с поклоняющимися пророками. Однако большое количество праздничных сцен занимают здесь не только тромпы и люнеты, но располагаются даже на плоских поверхностях стен. <br />Мозаики Дафни создают ощущение праздничности, незамутненного спокойствия и вселенской гармонии. Из живописи полностью исчезают какие бы то ни было мрачные тона, а евангельские образы исполняются поэтической красоты (см. композицию того же ансамбля «Явление ангела Иоакиму»). Даже в сценах страстей нет и намека на страсти и пафос страдания и жертвы. В этот мир благородной и нейтральной красоты не вмещаются кровь, боль и терновый венец Распятия. <br />В мозаиках Дафни нарастают повествовательные тенденции: сцен становится больше, в них появляются пейзаж, элементы архитектуры, большее внимание уделено сюжету. Однако главным побуждением мастера отнюдь не является тяга к выраженному развитию рассказа. Тщательно отобранные детали, идеальный характер действия, отсутствие каких бы то ни было эмоций и, тем более, экспрессии и духовного напряжения фиксируют мир не как процесс, а как состояние. Художника скорее интересует не что происходит, а как происходит. <br />В Дафни получили развитие композиционные принципы византийской живописи. Композиции мозаик очень свободны, исполнены широкого дыхания не занятого формами пространства. Характерна не просто статуарность, но идеальная завершенная округлость объемов, уподобляющая фигуры росписи прекрасной круглой скульптуре. Изменилось соотношение фигур между собою и с пространством: персонажи изображены в самых разных ракурсах и разворотах, обилие трехчетвертных и профильных абрисов создает постоянное движение объемов из глубины наружу. Объемные, но легкие ткани демонстрируют пластику тел и одновременно отстают от поверхности, как бы слегка отдуваемые ветром. <br />В ликах поразительны особая холодноватая красота, безмятежность, бесконечное удаление от мира страстей и эмоций. Даже миловидные нежные типы (Богоматерь, ангелы) полностью отвлечены от душевной умилительности. Ощущение идеального бесстрастия уподобляет образ человека и Богочеловека бесстрастию идеально устроенного и упорядоченного космоса. <br />Цветовая палитра приобретает особую воздушность и внутреннее сияние. Необыкновенное богатство цветовых переливов, мгновенно преображающих основной тон, вызывает ощущение колеблющейся поверхности тканей. Все цвета взяты в едином, холодновато-серебристом ключе с преобладанием пепельных, серебристых, голубых, холодных розовых и сияющих сапфировых оттенков. Даже золотая смальта фонов выглядит неплотной и прозрачной благодаря светлому, чуть зеленоватому оттенку золота. <br /><br />Theophany is the Feast which reveals the Most Holy Trinity to the world through the Baptism of the Lord (Mt.3:13-17; Mark 1:9-11; Luke 3:21-22). God the Father spoke from Heaven about the Son, the Son was baptized by the St John the Forerunner, and the Holy Spirit descended upon the Son in the form of a dove. From ancient times this Feast was called the Day of Illumination and the Feast of Lights, since God is Light and has appeared to illumine "those who sat in darkness," and "in the region of the shadow of death" (Mt.4:16), and to save the fallen race of mankind by grace. In the ancient Church it was the custom to baptize catechumens at the Vespers of Theophany, so that Baptism also is revealed as the spiritual illumination of mankind. The origin of the Feast of Theophany goes back to Apostolic times, and it is mentioned in The Apostolic Constitutions (Book V:13). From the second century we have the testimony of St Clement of Alexandria concerning the celebration of the Baptism of the Lord, and the night vigil before this Feast. There is a third century dialogue about the services for Theophany between the holy martyr Hippolytus and St Gregory the Wonderworker. In the following centuries, from the fourth to ninth century, all the great Fathers of the Church: Gregory the Theologian, John Chrysostom, Ambrose of Milan, John of Damascus, commented on the Feast of Theophany. The monks Joseph the Studite, Theophanes and Byzantios composed much liturgical music for this Feast, which is sung at Orthodox services even today. St John of Damascus said that the Lord was baptized, not because He Himself had need for cleansing, but "to bury human sin by water," to fulfill the Law, to reveal the mystery of the Holy Trinity, and finally, to sanctify "the nature of water" and to offer us the form and example of Baptism. On the Feast of the Baptism of Christ, the Holy Church proclaims our faith in the most sublime mystery, incomprehensible to human intellect, of one God in three Persons. It teaches us to confess and glorify the Holy Trinity, one in Essence and Indivisible. It exposes and overthrows the errors of ancient teachings which attempted to explain the Creator of the world by reason, and in human terms. The Church shows the necessity of Baptism for believers in Christ, and it inspires us with a sense of deep gratitude for the illumination and purification of our sinful nature. The Church teaches that our salvation and cleansing from sin is possible only by the power of the grace of the Holy Spirit, therefore it is necessary to preserve worthily these gifts of the grace of holy Baptism, keeping clean this priceless garb, for "As many as have been baptized into Christ, have put on Christ" (Gal 3:27). On the day of Theophany, all foods are permitted, even if the Feast falls on a Wednesday or Friday.Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-81464577353376504062008-12-26T12:25:00.000-08:002009-01-30T07:17:47.260-08:00The Nativity. Sinai, 7 c<a href="http://3.bp.blogspot.com/_hbSa5dpexdw/SVU-Ac4yo1I/AAAAAAAACSg/m7O48HpNt40/s1600-h/RH_sinai_7-9v.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 322px; height: 400px;" src="http://3.bp.blogspot.com/_hbSa5dpexdw/SVU-Ac4yo1I/AAAAAAAACSg/m7O48HpNt40/s400/RH_sinai_7-9v.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5284197915264459602" /></a>Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-39539593668874909362008-12-18T02:07:00.000-08:002008-12-21T05:29:13.513-08:00Daniel and the Lions. Rome, 2-3 c<a href="http://4.bp.blogspot.com/_hbSa5dpexdw/SU5EhVXyC0I/AAAAAAAACQ4/aUSAUTT-YEQ/s1600-h/Daniil_DanielsDen_MarcellinusAndPeter.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 357px; height: 400px;" src="http://4.bp.blogspot.com/_hbSa5dpexdw/SU5EhVXyC0I/AAAAAAAACQ4/aUSAUTT-YEQ/s400/Daniil_DanielsDen_MarcellinusAndPeter.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5282234752415435586" /></a><br />Fresco at the Catacomb of Saints Marcellinus and Peter - Rome, Via Labicana... So, too, the story of <strong>Daniel</strong> in the Lion's Den: the wicked authorities persecuting the innocent believers whose only power was their faith in God and his promise to His people... Even the orant pose that Daniel assumes links his persecution and salvation to those of the Christians.<br /><br />(http://campus.belmont.edu/honors/catacombs/catacombs.htm)Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-28361402500127353272008-12-06T03:52:00.001-08:002008-12-21T05:33:36.534-08:00Ss. Paul, Peter, Nicholas, and John Chrysostomos 7 c<a href="http://1.bp.blogspot.com/_hbSa5dpexdw/STpnr4nZcvI/AAAAAAAACLQ/3gtuajBPurw/s1600-h/7thSinaiTripWings.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 265px; height: 400px;" src="http://1.bp.blogspot.com/_hbSa5dpexdw/STpnr4nZcvI/AAAAAAAACLQ/3gtuajBPurw/s400/7thSinaiTripWings.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5276643917047624434" /></a> 40 x 13 cm. Encaustic. Sinai. <br />These two outer leaves of a triptych are joined by a wooden strip at the top. The Apostles reverse the colors of their tunics and mantles; Paul carries a book, and Peter a scroll, possibly a reference to the traditio legis. Bishops Nicholas and John wear the omophorion and carry books.Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-52878443231804077212008-11-26T01:51:00.000-08:002008-12-21T05:33:55.049-08:00St Clement of Ohrid 13 c<a href="http://4.bp.blogspot.com/_hbSa5dpexdw/SS0dFCqwoQI/AAAAAAAACHw/d2yhswsRcx8/s1600-h/11+25+sv+Kliment+Ohridski.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 127px; height: 400px;" src="http://4.bp.blogspot.com/_hbSa5dpexdw/SS0dFCqwoQI/AAAAAAAACHw/d2yhswsRcx8/s400/11+25+sv+Kliment+Ohridski.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5272902711173488898" /></a> The existing church of St. Clement, built in 1295 and named St. Bogorodica Perivleptos, is a completely preserved medieval monument located in Ohrid, famous for its extraordinary architecture and fresco paintings. During the XIII century the Byzantine Empire was ruled by the Palaeologus dynasty, thus also the style of the church, which was erected in that period, is known as "Palaeologus". <br />After the conversion of the church of St. Sofia into mosque, the church of St. Clement became the cathedral church of the Ohrid Archiepiscopate. It retained that position until the discontinuation of the Archiepiscopate in 1767. Its present name originates from the time when the relics of Clement of Ohrid were transferred there from the monasterial church of St. Pantheleimon, since that one too was conversed into mosque. Many precious icons, manuscripts written in Slavonic or Greek language from the 10th century on, various relics, and religious clothes - all of these were relocated from the churches of St. Sofia and St. Pantheleimon to St. Clement. Thus this church became an unique treasury. Till the present day numerous artifacts have been preserved, primarily the ones from the renown collection of Ohrid icons exhibited in the Gallery of Icons. <br /><br /><a href="http://4.bp.blogspot.com/_hbSa5dpexdw/SS0dO2ppc3I/AAAAAAAACH4/XzWsbRYgjBE/s1600-h/freski_od_Sv_Kliment_2.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 237px; height: 300px;" src="http://4.bp.blogspot.com/_hbSa5dpexdw/SS0dO2ppc3I/AAAAAAAACH4/XzWsbRYgjBE/s400/freski_od_Sv_Kliment_2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5272902879746290546" /></a> The frescoes in the church of St. Clement were gradually discovered, starting from 1950. They were covered with layers of dark soot generated by centuries long burning of icon lamps and candles. The icons were cleaned up by special emulsion made up of organic chemicals according to the recipe of the esteemed painter and conserver Zdravko Blazic. The authors of the frescoes were Michael Astrapus and Eutychus, two exquisite painters from the late XIII and the first half of the XIV century. In 1295 these two fresco painters were commissioned to decorate the church by the Byzantine military commander Progon Zgur, a relative of Emperor Andronicus II Palaeologus, as inscribed on the interior wall above the entrance door. The painters skillfully incorporated their names within the clothes of St. Dimitry (Michael) and St. Procopius (Eutychus), and elsewhere. <br />The frescoes of the church of St. Clement denote an entirely new chapter in the medieval arts. These frescoes mark the beginning of the new artistic aspirations in the Byzantine arts, known as the Palaeologus Renaissance. <br />Moreover, the St. Clement's church frescoes are the earliest known and dated works of Michael and Euthychus, later the court painters of King Milutin. Their creative activities can be traced for almost three decades: from the church of St. Clement (1295), through the church of St. Nikitie (1307), to the one in Staro Nagoricani (1318), as well as in other churches.<br /><br />http://www.soros.org.mk/konkurs/076/angver/bogorodica_svkliment.htmlНиколай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-48003319275448137302008-11-16T07:53:00.000-08:002008-11-16T07:55:53.460-08:00Emperor Justinian 556 A.D.<a href="http://1.bp.blogspot.com/_hbSa5dpexdw/SSBCI2NnUhI/AAAAAAAACDM/jsw9u3SezSw/s1600-h/mosaic09.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 280px; height: 400px;" src="http://1.bp.blogspot.com/_hbSa5dpexdw/SSBCI2NnUhI/AAAAAAAACDM/jsw9u3SezSw/s400/mosaic09.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5269284283782484498" /></a> Mosaic detail showing the Emperor <strong>Justinian</strong>, 556 A.D. Although Justinian was alive when this mosaic was made, he nevertheless gets a nimbus (with Sassanid beads, reflecting the orgin of the symbol), which suggests his role as God's direct agent on earth. The effect of Justinian's take-over of Italy was not positive. Not only were the Gothic wars terribly destructive, but the powerful landowners continue to resist being governed. While the Lombard arrival did not affect Ravenna directly, it tended to isolate the area. We therefore do not see in Ravenna the neo-classicism then in fashion at the court of Constantinople.Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-58899516704392138822008-11-06T00:19:00.000-08:002008-11-06T00:25:55.066-08:00Archangel Michael 12 c<a href="http://1.bp.blogspot.com/_hbSa5dpexdw/SRKp0V036QI/AAAAAAAAB9k/YSL4g1Uak2E/s1600-h/Archangel_Michael_sinai_12v.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 272px; height: 400px;" src="http://1.bp.blogspot.com/_hbSa5dpexdw/SRKp0V036QI/AAAAAAAAB9k/YSL4g1Uak2E/s400/Archangel_Michael_sinai_12v.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5265457631026735362" /></a> The Archangel Michael with the prostrate figure of a dedicated monk at his feet. This portable icon dates to the 12th century.Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-25670138753231572112008-10-27T11:40:00.000-07:002008-10-29T06:21:41.481-07:00St. Demetrios mosaic<a href="http://3.bp.blogspot.com/_hbSa5dpexdw/SQYLZPUWLEI/AAAAAAAAB7s/2fMMjG_9-k0/s1600-h/St+Demetrios+mosaic.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 187px; height: 400px;" src="http://3.bp.blogspot.com/_hbSa5dpexdw/SQYLZPUWLEI/AAAAAAAAB7s/2fMMjG_9-k0/s400/St+Demetrios+mosaic.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5261905742865509442" /></a> A pre-Iconoclastic depiction of St. Demetrios at the Aghios Demetrios Basilica. Note the dark blue tablion on his chest.<br /><br />St. Demetrius was initially depicted in icons and mosaics as a young man in patterned robes with the distinctive tablion of the senatorial class across his chest. Miraculous military interventions were attributed to him during several attacks on Thessaloniki, and he gradually became thought of as a soldier: a Constantinopolitan ivory of the late 10th century shows him as an infantry soldier (Metropolitan Museum of Art). But an icon of the late 11th century in Sinai shows him as before, still a civilian.<br />Another Sinai icon, of the Crusader period and painted by a French artist working in the Holy Land in the second half of the 12th century, shows what then became the most common depiction. Demetrius, bearded, rather older, and on a dark horse, rides together with St George, unbearded and on a white horse. Both are dressed as cavalrymen. Also, while St. George is often shown spearing a dragon, St. Demetrius is depicted spearing the gladiator Lyaeos, who according to legend was responsible for killing many Christians. In traditional hagiography, Demetrius did not directly kill Lyaeos, but rather through his prayers the gladiator was defeated.<br />A modern Greek iconographic convention depicts Demetrius with the White Tower of Thessaloniki in the background. The anachronistic White Tower acts as a symbolic depiction of the city of Thessaloniki, despite having been built in the 16th century, centuries after his life, and the exact architecture of the older tower that stood at the same site in earlier times is unknown.<br /><br />http://en.wikipedia.org/wiki/Saint_Demetrius_of_ThessalonikiНиколай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-83172947965357494592008-10-16T11:49:00.000-07:002008-10-29T06:22:02.141-07:00St. Luke the Evangelist<a href="http://4.bp.blogspot.com/_hbSa5dpexdw/SPeM96d_YsI/AAAAAAAAB4c/g9l0Ykj_bEU/s1600-h/10_18_sv_luke_reading.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://4.bp.blogspot.com/_hbSa5dpexdw/SPeM96d_YsI/AAAAAAAAB4c/g9l0Ykj_bEU/s400/10_18_sv_luke_reading.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5257826085273297602" /></a> Almost all that we know about Luke comes from the New Testament. He was a physician (Col 4:14), a companion of Paul on some of his missionary journeys (Acts 16:10ff; 20:5ff; 27-28). Material found in his Gospel and not elsewhere includes much of the account of Our Lord's birth and infancy and boyhood, some of the most moving parables, such as that of the Good Samaritan and that of the Prodigal Son, and three of the sayings of Christ on the Cross: "Father, forgive them," "Thou shalt be with me in Paradise," and "Father, into thy hands I commend my spirit." <br />In Luke's account of the Gospel, we find an emphasis on the human love of Christ, on His compassion for sinners and for suffering and unhappy persons, for outcasts such as the Samaritans, tax collectors, lepers, shepherds (not a respected profession), and for the poor. The role of women in Christ's ministry is more emphasized in Luke than in the other Gospel writings. <br />In the book of Acts, we find the early Christian community poised from the start to carry out its commission, confident and aware of Divine guidance. We see how the early Christians at first preached only to Jews, then to Samaritans (a borderline case), then to outright Gentiles like Cornelius, and finally explicitly recognized that Gentiles and Jews are called on equal terms to the service and fellowship of Christ. <br />Luke makes many casual references throughout his writings (especially in Acts) to local customs and practices, often with demonstrable and noteworthy precision. To mention just one example, he refers to two centurions by name, Cornelius in Acts 10 and Julius in Acts 27, and he calls them both by nomen only, rather than by nomen and cognomen (Sergius Paulus in Acts 13;7) or cognomen only (Gallio in Acts 18:12), as he does when speaking of civilian officials. It is a distinction that would have been routine at the time that Luke is writing about, but one that had largely died out by, say, 70 AD. His preserving it shows either that: <br />he wrote fairly close to the events he described, or <br />he was describing persons and events on which he had good information, or <br />he was an expert historical novelist, with an ear for the authentic-sounding detail. <br /><br />Luke is commonly thought to be the only non-Jewish New Testament writer. His writings place the life of Christ and the development of the early Church in the larger context of the Roman Empire and society. On the other hand, his writings are focused on Jerusalem and on the Temple. His Gospel begins and ends in the Temple, and chapters nine through nineteen portray Jesus as journeying from Galilee to Jerusalem. Similarly, the Book of Acts describes the Church in Jerusalem (and worshipping in the Temple) and then describes the missionary journeys of Paul as excursions from and returns to Jerusalem.Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-5054266689919891052008-10-06T06:58:00.000-07:002009-01-11T12:14:59.729-08:00St Sergius and Bacchus 13 c<a href="http://1.bp.blogspot.com/_hbSa5dpexdw/SWpTDCyEx2I/AAAAAAAACXQ/IpVog2Bu2LQ/s1600-h/cart25.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 271px; height: 400px;" src="http://1.bp.blogspot.com/_hbSa5dpexdw/SWpTDCyEx2I/AAAAAAAACXQ/IpVog2Bu2LQ/s400/cart25.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5290132024051681122" /></a> This is an icon of two military Saints, Sergius and Bacchus on horseback. The large portable icon dates to the 13th c entury.Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-29583932841204231502008-09-26T01:39:00.000-07:002009-01-11T12:20:36.237-08:00St John the Theologian<a href="http://3.bp.blogspot.com/_hbSa5dpexdw/SWpUi0hDzkI/AAAAAAAACXg/-rsW67rXjsE/s1600-h/09_26_sv_Joan_Bogoslov.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 334px; height: 400px;" src="http://3.bp.blogspot.com/_hbSa5dpexdw/SWpUi0hDzkI/AAAAAAAACXg/-rsW67rXjsE/s400/09_26_sv_Joan_Bogoslov.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5290133669489659458" /></a><br /> <em>We show our love for God by obeying his commandments, and they are not hard to follow... Children, you must stay away from idols.</em>Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-9335342749956048792008-09-16T03:07:00.000-07:002008-09-16T03:15:21.617-07:00the Pyrovolitheisa from Vatopedi<a href="http://2.bp.blogspot.com/_hbSa5dpexdw/SM-HKU1HM_I/AAAAAAAABts/gUAiUdV14MI/s1600-h/Pyrovolitheisa+from+Vatopedi.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://2.bp.blogspot.com/_hbSa5dpexdw/SM-HKU1HM_I/AAAAAAAABts/gUAiUdV14MI/s320/Pyrovolitheisa+from+Vatopedi.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5246560702369838066" /></a> When, in 1822, the Holy Mountain was occupied by a Turkish garrison, a soldier dared to shoot at the icon of the Theotokos on the outside of the Monastery, above the entrance. The bullet damaged the right hand of the Theotokos, and the sacrilegious culprit, who was a nephew of the commander of the squad, went mad and hanged himself from an olive tree in the garden opposite the entrance to the Monastery. Now the Monastery was in grave danger of reprisals and looting, but a fellow-soldier of the suicide realised what was going on and told his uncle. The commander admitted that this was indeed a case of divine retribution and ordered that his nephew's body should be denied burial.Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-24565250918272806632008-09-06T12:33:00.001-07:002008-09-16T03:20:36.682-07:00John the Baptist 6th century<a href="http://2.bp.blogspot.com/_hbSa5dpexdw/SM-H4SHnRcI/AAAAAAAABt0/wORv1AwIx0I/s1600-h/WIcons07.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://2.bp.blogspot.com/_hbSa5dpexdw/SM-H4SHnRcI/AAAAAAAABt0/wORv1AwIx0I/s400/WIcons07.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5246561491916113346" /></a> 46 x 25 cm. Encaustic. Kiev. <br />The badly damaged John is flanked by Christ and Mary in clipea, and he holds a scroll, Old Testament style, with John 1:29. His visage is gaunt, but his gaze clear, befitting an ascetic prophet. An early form of Deesis, John looks and points at the Christ clipeus.Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-70067305936663176652008-08-16T11:39:00.000-07:002008-09-16T03:21:24.286-07:00Virgin enthroned Sinai 6 c<a href="http://2.bp.blogspot.com/_hbSa5dpexdw/SKcfS1J1q4I/AAAAAAAABO8/HvEVKwGihVg/s1600-h/cart06.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://2.bp.blogspot.com/_hbSa5dpexdw/SKcfS1J1q4I/AAAAAAAABO8/HvEVKwGihVg/s400/cart06.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5235187500207942530" /></a> This outstanding icon has survived in two pieces, unskillfully joined together with wire. It represents the Virgin enthroned, supporting the Child Christ in her lap and flanked by two warrior Saints, the bearded St. Theodore Stratelates on the right and the beardless St. George on the left, both standing in formal pose. Two Archangels are pictured behind the central group, their wide-open eyes staring with awe at the hand of God which descends from heaven emitting a beam of light towards the head of the Holy Virgin. Portrayed frontally, on a slightly larger scale than the rest of the figures composing the icon, the Virgin is seated on the red cushion of the pearl-studded throne, dressed in a dark blue maphorion (veil), her feet in purple shoes resting on a golden footrest adorned with pearls. An intense realism is reflected in the Virgin's white and pink face painted with ample highlights and greed shades, in her strongly accentuated features and large dissimilar eyes with their vivid glance. The Christ Child is pictured seated in a remarkably easy and comfortable pose on His mother's lap. The two Archangels, with their different haloes but otherwise perfectly uniform treatment and classical rendering, form a splendid complement to the central group.<br />Generally speaking, this icon presents a synthesis of the hieratic character of religious art and the profound meaning of theological doctrine. It symbolizes the mystery of the incarnation of Christ made man and the glory of the Mother of God. This justifies the intense expression of the countenances, the solemn attitudes of the Saints present at the glory of the Mother of God, the awed attention of the Archangels who "behold" the mystery of the incarnation. <br />The icon is dominated by the formal severity and hieratic character of monumental art in Justinian's age. It also reflects the splendor of the imperial court, particularly in the Saints' attires, and clearly betrays the continuation of Hellenistic tradition in the treatment of the Archangels. This masterpiece, therefore, has been dated by most scholars in the age of Justinian and attributed to an imperial atelier of Constantinople. However, it should be noted that some other scholars maintain that this icon is a Syro-Palestinian work.<br /><br />It was painted using the encaustic technique and is believed to date to the 6th century (70X49 m)Николай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-77968473738902440662008-08-06T06:41:00.000-07:002008-08-06T22:36:42.891-07:00Transfiguration Mosaic Sinai 6 c<a href="http://1.bp.blogspot.com/_hbSa5dpexdw/SJmqlIphxhI/AAAAAAAABL8/3wg5ur78afQ/s1600-h/preobrazhenie_mozaik_6-7v.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://1.bp.blogspot.com/_hbSa5dpexdw/SJmqlIphxhI/AAAAAAAABL8/3wg5ur78afQ/s400/preobrazhenie_mozaik_6-7v.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5231399997121086994" /></a> One work within the Monastery's main church (Katholikon), decorating the sanctuary apse, is particularly notable. <br />Christ is portrayed with black hair and beard in an oval "glory" between Moses and Elijah who represent the Law and the prophets. Below, the three awed disciples are pictured in different poses. The soffit of the triumphal arch is decorated with medallions containing busts of the twelve Apostles. The three Apostles included in the scene fo the Transfiguration have been replaced in the chain of medallions by Paul, Thaddaeus and Matthias. The base of the apse is bordered by another series of fifteen medallions with busts of the Prophets. <br />This monumental composition of the late 6th century is a true masterpiece of Byzantine art. Through the subject, treated with intense light and profound spirituality, the mosaicist has succeeded to represent in a most expressive and transcendental manner the doctrine of the two natures of Christ, as formulated in 451 AD by the Ecumenical Council of Chalcedon. <br /><br />The terminal medallions enclose the portraits of Longinus the Abbot (right) and John the Deacon (left). Both were important personalities. Longinus was Abbot of the Monastery between 562-565/6, at which time the decoration was executed. He later became Patriarch of Antioch. John is perhaps the later Patriarch of Jerusalem known as John IV (575-594).<br />The spandrels of the arch are occupied by two flying angles and the center by the Amnos (Lamb). The Virgin is depicted in bust on the south side and St. John the Baptist on the north. We may say that we have here one of the earliest representations of the Deesis. <br />The upper part of the wall shows two episodes from the Old Testament. They are Moses before the Burning Bush and Moses receiving the Tablets of Law. <br />This superb mosaic must have been made by master mosaicists who had come from Constantinople. Cleaning and conservation operations, undertaken in 1958 by American experts, revealed the brightness and delicacy of the colors, the lively treatment of the subject and the excellent quality of this unique work of art.<br />Because of the sanctity and spirituality of the site and the famous mosaic of the Transfiguration, the Monastery's church (Katholikon) became known with the passing of centuries as "Church of the Transfiguration of Christ the Savior". To this day it is known under this name, in addition to the original name in honor of the Virgin of the Burning Bush and the later one in honor of St. Catherine.<br /><br />http://touregypt.net/featurestories/catherines2-49.htmНиколай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-13678077948986110252008-07-26T00:55:00.001-07:002008-07-26T03:35:02.279-07:00St. Nicholas from Sinai 12-13 c<a href="http://bp0.blogger.com/_hbSa5dpexdw/SIr8z00dCYI/AAAAAAAABIM/G5BfAgobO8s/s1600-h/St+Nikolas+Sinai.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://bp0.blogger.com/_hbSa5dpexdw/SIr8z00dCYI/AAAAAAAABIM/G5BfAgobO8s/s400/St+Nikolas+Sinai.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5227268284799060354" /></a> The third icon among our examples, <strong>St. Nicholas the Miracleworker</strong>, with Scenes from His Life, also comes from Sinai, but it is a later work, from the end of the twelfth or the first half of the thirteenth century. The saint is an amalgamation of two St. Nicholases, a bishop of the fourth century and a pious monk of the sixth. By the twelfth century St. Nicholas has become one of the most beloved and popular saints, not only in the Byzantine Empire but in Russia and the West. He was considered the patron of sailors, seamen, and fishermen, scholars, students and teachers, merchants, traders, marriageable maidens, bankers, and even robbers and thieves. Hagiographical icons of the saint presented in the middle his bust (in Russia, also his standing figure) and a selection of episodes from his life and from his posthumous miracles framing the central image. The icon shown here includes 16 episodes, from the saint's birth to his death. The monumental character of the central panel is softened by an addition of interesting decorative details. The hair and the beard of the saint are fancifully outlined by flowing white curls and the crosses on the saint's omophorion show intricate design. Next to Nicholas' head are two small figures: on the left Christ with a Gospel book, and on the right the Virgin with an omophorion. These two figures allude to the story of the saint's presence at the First Ecumenical Synod in Nicaea in 325. According to the story, Nicholas, angered by the blasphemous words of the heretic Arius against the Holy Trinity, slapped him on the face. For this, he was put in prison and his bishop's attributes, the Gospel Book and the omophorion, were taken from him. However, at night, Christ and the Virgin appeared in his prison cell and returned the Gospel book and the omophorion to him, forcing Emperor Constantine to free the saint and reinstate him as a bishop. In Russia, St. Nicholas became the most popular saint of all, depicted in literally thousands of icons, ranging from simple busts to very elaborate hagiographical icons with more than forty border scenes.<br /><br />http://www.rollins.edu/Foreign_Lang/Russian/byzant.htmlНиколай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0tag:blogger.com,1999:blog-6208680598197698007.post-83017832848030199192008-07-16T06:36:00.000-07:002008-07-16T10:59:23.999-07:00Virgin and Child from Sinai 6 c<a href="http://bp0.blogger.com/_hbSa5dpexdw/SH36SUuU32I/AAAAAAAABFs/-usnhUegRWI/s1600-h/6thKievVirginChild.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://bp0.blogger.com/_hbSa5dpexdw/SH36SUuU32I/AAAAAAAABFs/-usnhUegRWI/s320/6thKievVirginChild.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5223606335527247714" /></a> 35.5 x 25.5 cm. Encaustic. 6th century. Kiev. <br />Slightly contraposto <strong>Mary </strong>is clad in a purple maphorion, yellow ochre chiton and embroidered stole; <strong>Christ</strong> in purple garment. Gold leaf in striations and haloes. Panel has been cut down, perhaps considerably; possibly the original was full length.<br /><br /><em>Now all this was done, that it might be fulfilled which was spoken of the Lord by the prophet, saying, <strong>Behold, a virgin shall be with child, and shall bring forth a son, and they shall call his name Emmanuel</strong>, which being interpreted is, <strong>God with us</strong>. </em><br /><br />Matthew 1:22-23<br /><br />http://campus.belmont.edu/honors/SinaiIcons/SinaiIcons.htmlНиколай Гочевhttp://www.blogger.com/profile/09675790233434304066noreply@blogger.com0